The Municipality of Macerata’s historical and artistic heritage has changed location and the collections underpinning the new installation were transferred to eighteenth-century Palazzo Buonaccorsi. The modified arrangement has split the body of diverse works acquired over time into groups, one for each of the three main floors. The basement area, originally the building’s stables and thus the best site for this particular collection, were defined as the site for new coach museum to be opened shortly. The vehicles, precious examples spanning the nineteenth century to the early twentieth century, are arranged in mainly chronological order to recount the evolution of this means of transport over time. The original nucleus of this collection, seven perfectly preserved sporting carriages, was donated to the city by Count Pieralberto Conti in 1962 and subsequently expanded with other important donations to increase the range and variety, from the nineteenth-century travelling berlin to gigs and horse-training coaches. All this is also accompanied by a remarkable assortment of tack (bridles, bits, saddles and horseshoes), rendering the Macerata collection excellent for its genre. The building’s piano nobile – in itself a decorative gem of the early 1700s – will be the home to the modern art collection, mainly paintings, acquired in the period 1835-1860, with the intention of using early donations to establish “a homeland gallery.” The exhibition follows the sequence of historiated rooms, ending at the so-called “galleria dell’Eneide”, a sort of “museum within a museum” as it still preserves intact the preferences of the collector Raimondo Buonaccorsi, who commissioned all these paintings on the theme of Virgil’s Aeneid. This modern art collection comprises works from the thirteenth century (a votive stone), fifteenth and nineteenth centuries. Worthy of note are a small Madonna panel by Carlo Crivelli, the original figures from the ancient civic clock tower, a copy of Caravaggio’s Flagellation, and a collection of Catenati academy armorial bearings. The layout was conceived to revive the eighteenth-century guise of the rooms, originally finished and decorated like an authentic aristocratic picture gallery. Finally, on the second floor, where restoration of mid-nineteenth-century paintings has been undertaken, there are rooms housing the contemporary art collection created thanks to several donations (including G. Baynes and V. Monti) and temporary exhibitions (organized in the old Pinacoteca Comunale from the 1950s and later also in the San Paolo church), and especially with acquisitions from several past Premio Scipione awards (1955, 1957, 1964). Following these important events, the museum came to own significant pieces by authors like Corrado Cagli, Osvaldo Licini, Luigi Spazzapan, Bruno Cassinari, Domenico Cantatore, Emilio Vedova, Umberto Peschi and others. Several rooms have been given over to display of works by the versatile artist, Ivo Pannaggi, who amongst other things is a painter, architect, photographer and graphic artist. A further section of paintings and sculptures is dedicated to Macerata’s 1930s “Secondo Futurismo” movement. The new museum design also includes the contemporary collection documentation centre with a virtual consultation feature.